Gideon Falls #7 (Image): I&N Demand Re: #6: Jeff Lemire and Andrea Sorrentino have opened the dark doorway to phantasmal madness! The latter’s layouts are mind-bending, sending the narrative deep into the id of a fractured Father Fred, into the bowels of the still abstruse Black Barn. I love the insistence at the very end: Norton insists, “The Black Barn…we’re going to build it. And you’re going to help me…” See: “we,” “you”–that’s me: a boy with a farming pedigree. Let’s do it! Let’s build it! I’m ready.

The New World #4 (Image): I&N Demand I’ve loved the way Aleš Kot has manipulated time ever since Zero #1; so you know I loved #3. But there was plenty more love to go around–mostly for the Moores: the he’s Tradd-ass lines and layouts and the she’s face-melting colors; and kinda for the kitty–specifically the sneaky “SSSNNNIKT” and the cat-fu that follows. It’s a new world, indeed–full of politics and impulsivity, violence and–wait. OK, well, it’s a world. It’s the world. It’s our world. It sure as fuck is.

Skyward #7 (Image): I&N Demand Re: #6: See, now: it’s the look–that look: Willa’s face in the last panel of the second-to-last page. Her face shows everything she’s learned, everything she knows to be true about herself and the Low-G world. She’s not going to let a little girl–a lot like a little Willa–lose her dad; so, despite the big-ass bugs, she’s going out the train door, into a forest full of freakishly large dragonflies, like a goddamned superhero. Cue page turn. Beautiful work from Lee Garbett with striking colors from Antonio Fabela. Well played, Mr. Henderson. Well played.

Stray Bullets: Sunshine and Roses #39 (Image): I&N Demand Re: #38: What a fucking trip! It hit me so hard that I had to write a 22 I&N 22 like right away–and here it is: Stray, stray, gang’s all here–in sub-space! Ay mi! Mother of a race to the top, learning: to get ahead, let (e)go. God, I soooo wanted to shout Love Yourself! to the fucking moon, but, ugh, I didn’t want to spoil it for all of my fellow Love Yourself fans; I wanted them–and they’re out there, man–to experience the euphoria I felt when that dredlocked son-of-a-bitch was there on the last page turn, standing next to hospital bed-bound Beth. That’s a good dude right there; and I can’t wait to see him kill some more bad folks.

Batman #57 (DC): I&N Demand Re: #56: Like most guys, I’m a sucker for father-son stories, particularly those that recount dysfunctional relationships that remind of my own effed-up relationship with my father–a really interesting fella who’s lived an enviable life, if I’m being fair–and a total shit as a dad. Yup: I’m a “Cat’s in the Cradle” kid, tears and all. But KGBeast and his dad? Why would I give a dump about that? Why did I? Why do I still? Characterization? Motivation? Juxtaposition? Sure, there’s that. (C’mon: one father who’ll do anything (take on ninjas and the cooky Kanto, the craziest baddy I ever saw), go anywhere (Volgograd–go Dad!) vs. a father who sits–yeah: a total sit as a dad!) But it’s more: it’s how Tom King tells a story–any story, really. But this one: It’s his honesty. His humanity. His fearlessness. His taking shots. A father and son taking shots. Shots to forget. Shots to remember. Add Tony S. Daniel’s best Bat-work to date, and ta da!–I&N Demand.

Cover #2 (DC/Jinxworld): I&N Demand Cover 2–my favorite defense, particularly because my team’s got two solid safeties. Throw in some top-notch corners and a hungry d-line and what’s it all mean? I’ll tell you what it means: don’t pass on Cover 2. No, really: the concept is terrific, the execution makes it matter. Bendis! is at his clever best; and David Mack is back making magic. A Con artist with a cover: artist? Fun, fun! In fact, when I met Mr. Mack at NYCC, I fancied myself in the comic as I handed him a blank sketch cover of Cover #1 and asked for a sketch to complete the cover and I got lost in the layers and loved every minute of it. I tried to explain the fantasy to my wife–about my being a part of some secret spy scheme that’ll change the course of the world–and she was like, “I have no idea what you’re talking about.” Well played, honey. Well played.

Pearl #3 (DC/Jinxworld)

Daredevil #609 (Marvel)

Black Badge #3 (BOOM!): I&N Demand Re: #2: Matt Kindt, Tyler Jenkins, and Hilary Jenkins’ Black Badge is the perfect escape. It’s engaging; it’s gorgeous. It simmers and explodes, simmers and explodes–yeah, it’s quite a ride; you know, like being on a train with your fellow Black Badges and then Young Canadian Mounties show up and you’re not sure what’s going to happen and then the plans go KABOOMY! and then Bond-ing over snow mobiles and a tiger, some storytelling inside the story, and an end that’s a right riot, right? That’s one Badge-ass comic, y’all.

Cemetery Beach #1 (Image): I&N Demand Warren Ellis and another out-of-this-world premise–a sci-fi twist on Papillon, perhaps?–that’s good enough for me. Plus: any time I see a title that’s Fill-in-the-blank Beach, I’m taken back to Matthew Arnold’s “Dover Beach,” and I’m filled with a kind of curdled joy, which is burdensome, sure, but is satisfying, too. The “generations of lunatics,” a phrase borrowed from the Cemetery Beach preview on PreviewsWorld.com reminds–loosely yet lovingly–of the “ignorant armies clash[ing] by night” in Arnold’s lovely yet melancholy lyric poem–an invitation, a commentary, a warning–from 1867. So, yeah: looking forward to this one–even if “Warren Ellis” is, ultimately, the only legit reason for my forward looking.

Mage: The Hero Denied #12 (Image): I&N Demand Well, look at that: I referenced in my write-up for Batman #54 the glorious green bubbles that caught my eye thirty or so years ago–that drew me to Mage: The Hero Discovered and the adventures of Kevin Matchstick–without having seen the cover to this issue. Now that’s magic.

The New World #3 (Image): I&N Demand #2 was fun, fun, fun! Aleš Kot kicked the conflict into high gear; he pushed the peril to the metal: struck by something undefinable while in the midst of a televised takedown, Stella decides to take a risk, trading a seemingly cushy future for, well, a seemingly mushy fugitive. Isn’t that how all great love stories begin? Shifting: Now, I’m not an artist, still I find Tradd Moore’s art humbling. (Heather Moore’s colors are there to rub it in, ain’t they though? They force the eyes wider, and, along with the mister’s living, breathing lines, create an immersive experience that is absolutely exhilarating!) See: each page turn is bigger than the next; and there I am, bearing the weight of the lines and the colors, which support gloriously Kot’s big ideas, and I’m just like Wow. That’s some spinning-in-your-bed while spinning-some-Floyd-vinyl shit going on. “Legendary,” indeed. You know what I need? I need to see this as a cartoon. A big-screen motherfucking cartoon movie. Please make this into a cartoon movie. Thank you. Next up: a little surgery. Goin’ to the scalpel of love…

Oblivion Song #7 (Image)

The Wicked + The Divine #39 (Image)

the seeds #2 (Dark Horse/Berger Books): I&N Demand Loyal readers might remember: I celebrated #1 with a 22 I&N 22; and looking back at the post–proud of that one, for sure!–and at the issue, I’m reminded of the perfection–as seen in the hive, in the perfect-every-time hexagon of the humble honeybee–of the initial offering. Ann Nocenti’s writing is stinger sharp, piercing the part of us that reads and feels and thinks and looks to connect with another afflicted soul–one driven deeper into the comforting yet conflicting chasm of conspiracy, colored, unfailingly by David Aja, a loud khaki green. Fuck. I can’t wait to get my hands on this one.

She Could Fly #3 (Dark Horse/Berger Books): I&N Demand She Could Fly #2 moves– it flies at a pace that reflects well Luna’s undeterred descent into madness, her succumbing to the stressors that surround her, including family, mystery, and–ceiling the deal–gravity. But she’s not the only one falling: oh no: see, everyone around her–and a significant one who was above her–has fallen or is falling in some way, be it morally, mentally, physically, interpersonally. Yup: lots of falling. Any surprise that the issue wraps up in a basement? Christopher Cantwell’s driving home the point–and is driving it down, down, which will make the rise–there’ll be a rise eventually, right?–that much more satisfying, I’m sure. Add to the mix the discomfort drawn into the narrative by Martin Morazzo’s hectic panel work, and the result is a trap that, even in the freedom of chaos, feels increasingly claustrophobic. Bill and Luna might “need to talk,” but, damn it, I need to read. Gimme #3!

Catwoman #3 (DC)

Detective Comics #988 (DC)

Superman #3 (DC)

The Amazing Spider-Man #5 (Marvel)

Daredevil #608 (Marvel)

Fantastic Four #2 (Marvel)

Crossed +100: Mimic #5 (Avatar)

Hot Lunch Special #2 (AfterShock): I&N Demand Well, wasn’t Hot Lunch Special #1 just the biggest surprise? Hell yeah, it was! I ate that shit up and loved every crumb. I was moved to write an inspired 22 I&N 22, and I hopepray expect that Eliot Rahal and Jorge Fornés will move me in much the same manner with this second helping of sandwiches and sumbitches, trucks and ho-lee fucks!

Moth & Whisper #1 (AfterShock)

Volition #2 (AfterShock)

What are you looking forward to this week?

If you were looking forward to Kendall and Grocery Store Joe getting back together–and, why not, while you’re at it, to Astrid and Kevin getting back together–well, then, fellow citizen of Bachelor Nation, you got your wish.

Things are heating up around these parts! The unbearably hot and humid end of August means that work’s a week away. However, before I buckle under the oppressive temps of routine and responsibility, I’ve got to give this week’s I&N Demand books their requisite once over. So, here we go:

The New World #2 (Image): I&N Demand The New World is built upon a familiar foundation–it’s “a whole new world,” with “a new fantastic point of view”–with Aleš Kot’s singular perspective, itself an eclectic amalgam of vibrant and vital voices from across ages, genres and mediums. He’s the real deal; and I, for one, am, as always, excited to have the opportunity to turn the pages of his inimitable imagination–in this case, as brought to the page by Tradd and Heather Moore. The former’s lines are truly miracles of the medium: they flow and flow and flow, creating a sense of motion, which pushes the narrative pace; the latter’s colors complement perfectly the lines, adding significant depth to Tradd’s artwork and creating a new world worthy of exploration on each page, in each panel. Very much looking forward to learning how Kot’s kick-ass Stella–a Juliet by another name–deals with the way-chill Kirby, her “only love sprung by her only” having to hunt him the fuck down. Reality star-crossed lovers, indeed!

Scarlet #1 (DC)

Web of Venom: Ve’Nam #1 (Marvel)

Bone Parish #2 (BOOM!): I&N Demand Finally: the follow-up to the #1 hit from Bone Drugs-N-Harmony! (Hmm. Sounded better in my head. I mean, I 22 I&N 22-ed the thing to death and was waiting to drop this one-liner and– Know what? I blame those guys. Bunn and Scharf and Guimarães. Fuckers. Coming together to create this…this…addictive nightmare! Been fiending for this for, what, like a month. Feels like forever. Twisting. Haven’t been right in the head since. Turning. Gotta get to my dealer. Gotta go. Gotta get there. But. But what if he’s out? Fuck. What if he runs out? Goddamn it. I gotta run. I gotta

Hillbilly: Red-Eyed Witchery from Beyond #1 (Albatross): I&N Demand I loved Hillbilly #12! Loved. It. The final episode in Rondel’s epic journey was huge in scope, but Eric Powell crafted it in such a perfectly compact manner–delivering Hurrah!-worthy Homerian moments (“the last of [his] kind,” indeed!) and taking a wrench to Rondel’s heart–and to mine!–and twisting oh-so-cruelly. As much as it hurt in the end, we–Rondel and I–have got to cleave that all behind and move on–to more haggish mayhem!

A Walk Through Hell #4 (AfterShock): I&N Demand Garth Ennis is building something truly frightening here–and–in #3, in particular–he’s doing so through dialogue–the masterfully-crafted dialogue for which he is known. Few comic book writers can keep the tension up while ratcheting up the word count; but Ennis does it effortlessly. Goran Sudzuka’s subdued art–with taciturn gray and brown tones from colorist Ive Svorcina–allows the aforementioned tension to build; and by laying out every page differently, Sudzuka subtly emphasizes the complex nature of the plot as it continues to develop. I’m very much looking forward to getting to the bottom of this mystery–though I don’t mind the walk one bit–and can’t wait to get wrapped up in more of Ennis’s demonically-deliberate diealogue.

First, I’d like to share an important update: I’m all caught up! That’s right, I&Nmates: I’ve read everything–Every. Flippin’. Floppy. in my possession–including the procrastinative Calexit, issues #2 and #3, which were, in the end, not surprisingly, all right left.

Wow. I’ve killed the pile, and it feels good. You know what I’m talking about: nothing burdens a comic book nerd quite like being behind a week or a month with his or her reading.

With that load taken off of my desk–a white IKEA secretary for you I&N completists–I’m re-energized and ready to let ‘er rip–so here’s what’s I&N Store this week:

The New World #1 (Image): I&N Demand A few years ago, when we were still writing the good write, we celebrated Ales Kot as the writer of the moment: his voice was potent; it was poetry. He had us hearing things and experiencing things and thinking things in ways that were unexpected. Compared to the other solid books that populated the shelf and, ultimately, our bags, his books, particularly Zero, were just more. Speaking of more: one of the reasons I decided to return to writing about what I love is Kot’s own Days ofHate–specifically #5, the near-silent, explosively tri-ing narrative, presented perfectly by Danijel Zezelj and Jordie Bellaire–which has, through six issues, conducted in me the synaptic symphony to which I became addicted when I was deep into Zero–or, more so, when Zero was deep into me. Deeper still: as a self-proclaimed Always Kot-er, I will gleefully grab the 72-page initial offering of TheNew World–with art from the Lord of Lines, Tradd Moore–because when it comes to Kot, more is more and, damn, I’m ready to read, ready to explore.

Redneck #13 (Image)

Royal City #13 (Image)

Saga #54 (Image)

Action Comics #1001 (DC)

Doomsday Clock #6 (DC)

Amazing Spider-Man #2 (Marvel)

Bone Parish #1 (BOOM!): I&N Demand Cullen Bunn kicked my ass with his hell-raising run on Harrow County, issue for issue, the best regular monthly horror book of the last few years. After having said goodbye to Emmy and having left Harrow in good hands, Bunn’s back with Bone Parish, a drug-laced horror book that, interestingly enough, in a kind of ThePrestige vs. The Illusionist-style turf battle, seems to live in the same cemetery as Black Mask’s addictive Gravetrancers, which just so happens to be out this week, too! Now, that book is bonkers–story-wise and art-wise; and, in that, it’s a good time, man–yeah, it’s an effing trip. I’m pretty sure, however, that Bunn’s book–with art from Jonas Scharf–is going to be a bit tighter. Take the underappreciated Unsound, for example: Bunn got gleefully unhinged during that paper plate masquerade, yet the story still felt grounded–even when the ground was the ceiling! So, will I be comparing Bone Parish to Gravetrancers? Of course. Anyone who’s read the latter has an obligation to test the former–to see if it transcends its predecessor or if it falls flat. Hey: my bag ain’t no vacuum, after all: it’s some prime–and responsibly recycled–real estate; and these two death-drug lords, Bunn and Miller, will be throwing down–if only for this one day–to claim the turf. We’ll soon see who’s got the write stuff white stuff the goods and who’s got the betters.

Britannia: Lost Eagles of Rome #1 (Valiant)

Crossed+One Hundred: Mimic #4 (Avatar)

Gravetrancers #4 (Black Mask)

Hillbilly #12 (Albatross): I&N Demand It’s all led to this–every step, every story, every swing of Rondel’s cleaver: witches–lots and lots of witches–vs. the Iron Child and his newly-raised army. Eric Powell has taken us on quite a journey; with each issue and one into the next, he’s crafted an epic for the ages. I’ll be sad when it’s over, that’s for damn sure; but it ain’t over until the Hillbilly swings–one last time.

A Walk Through Hell #3 (Aftershock): I&N Demand During the terrifying stretch of road that was #2, Garth Ennis and Goran Sudzuka unloaded with the increasingly uncomfortable self-inflicted Passion of Huzikker, the suicidal centerpiece of a crazy spent-shell game of an issue. The never-ending barrage of bullets had me emotionally ducking for cover, had me silently begging for the poor guy to die–not unlike the response George Orwell demands with his revolutionary short piece “Shooting an Elephant.” (Why won’t the effing thing die already!) Another selling point, of course, is Ennis’s living anew in law enforcement. (This reads not unlike Red Team with a twist of dread–which would make this, wait for it, Dread Team.) No one cops cop speak like Ennis; yes, as always, his dialogue is to die for. And speaking of dying: I’m in no rush–and neither is Ennis, clearly; it is “a walk through hell,” after all. The terror he’s harnessed is born of the waiting and the wonder; so, yeah, let’s walk.

X-O Manowar #17 (Valiant)

Yay! A new pile! You know what I’m talking about: nothing excites a comic book nerd quite like having a new pile of comics on his or her desk.

Astro City #11 (DC/Vertigo): On to something new after the Winged Victory arc. Doesn’t matter what it is, really; it’s going to be a solid read. Kurt Busiek’s good like that.

Royals: Masters of War #3 (DC/Vertigo): My problem with #2: the pacing. If Rob Williams were shooting for the fog of war, then he hit the target and caused plenty of collateral damage in the process. The art from Simin Colby, however, was just as strong.

Royals: Masters of War #3

Batman Eternal #1 (DC): I have no faith in the value of this series–for a couple of reasons, really: the words “weekly” (more so “weakly’?) and “various” wail like a siren warning me away; and I’ve found no use for Snyder’s Batman since the penultimate issue of the Court of Owls storyline. Hard to imagine things’ll be different this time around. I’ll thumb through it and make the call from there.

East of West #11 (Image): Still a slow death–even after an uncharacteristically busy #10–but still very good. Funny: Hickman’s plodding style plays well here but not so well on his hero books.

East of West #11

Manifest Destiny #6 (Image): I swore to Derek that #5 was my last issue. Let’s see if I can stick to my muskets.

Shutter #1 (Image): A “female Indiana Jones”? That promise doesn’t do much for me–mostly because I couldn’t care less about Indiana Jones. (Deep breath, Derek. It’ll be OK.) How about, maybe, a “classy Lara Croft”? Nah. Still nothin’. OK, how about an “Image #1”? Now we’re talkin’!

Iron Fist: The Living Weapon #1 (Marvel): I’ve always liked Iron Fist/Danny Rand. And I also like the idea of a singular creator–in this case, Kaare Andrews–taking him on. I’ll give it a try.

Iron Fist: The Living Weapon #1

Nightcrawler #1 (Marvel): The name Chirs Claremont carries a lot of weight. Unfortunately, Nightcrawler is my least favorite X-Man–ever. May have to BAMF! its way into my bag.

Flash Gordon #1 (Dynamite): Not kidding: the main reason I’m leaning toward “yes” is because I’ve taken to Millar’s Starlight, a clear spin on the Flash Gordon story. Doesn’t hurt that Jeff Parker and Evan Shaner are attached to it.

The Twilight Zone #4 (Dynamite): #2 was one of our top books of February. #3 didn’t quite reach that level, but it was still pretty good. #4 brings J. Michael Straczynski’s first arc to its face-melting final act. Will the real Trevor Richmond please stand up. Please stand up. Please stand up.

Can’t buy ’em all. That’s why I narrow it down to a select many every week.

Dark Horse Presents #34 (Dark Horse): A pricey pick, that’s for sure; but a gotta grab because Dean Motter’s magnificent Mister X is making his much anticipated return to the DHU. And we love us some Mister X: if you didn’t already know–and you’d be in rare company–Mister X: Eviction was our #1 book of 2013.

Dark Horse Presents #34

Skyman #3 (Dark Horse): Has been OK. My interest level in this book increased exponentially after reading Joshua Hale Fialkov’s The Bunker. Makes this a bit of a potential pick. Thing is, as a four-issue mini, Skyman might not have the time to realize that potential. On a positive note, I’m willing to go the distance because it’s a mini. Wouldn’t have been so willing if it had been an ongoing.

The Witcher #1 (Dark Horse): Capable horror scribe Paul Tobin (Colder) makes it a maybe. The fact that it’s based on a video game makes it a maybe not. May also pass on this one.

American Vampire: Second Cycle #1 (DC/Vertigo): I’ve been looking forward to this! Oh, sure, I bashed Batman a time or two and have been mostly put to sleep by The Wake (that is until #6, which was, pretty much, in The Wake world, anyhow, the equivalent of a cold shower!). But that doesn’t mean I’m a Snyder hater; in fact, I happen to love American Vampire. Consumed ’em all in trade form and am ready for the next course!

Animal Man #29 (DC): Jumped off a while ago. Wondering if it’s worth picking up seeing as it’s the last issue and all. Love Lemire’s cover:

Suicide Squad #29 (DC): Hasn’t been as good as I had hoped it’d be with Kindt in command. Riding out his run, anyway.

Wonder Woman #29 (DC): It’s no surprise that this is the only New 52 book I’ve stuck with–without missing an issue–from #1. It’s no myth: Brian Azzarello has made a monthly living of being good. Of drawing out the story, sure, but of being good, nevertheless.

A Voice in the Dark #5 (Image): Well, I certainly didn’t celebrate #4. (Check out my review here.) What I have celebrated, however, is the potential that Larime Taylor has shown–especially in a terrific #2. Here, I’m hoping to see more than a return to form: I’m hoping to see improved pacing. This book desperately needs to cut to the chase–and draw some blood in the process.

A Voice in the Dark #5

Fuse #2 (Image): #1 was an offer I could easily refuse–not re-Fuse, mind you. Leaning toward leaving it on the shelf.

Lazarus #7 (Image): #6 was terrific–as always. In it, Rucka and Lark build some serious tension, which neither slacks nor snaps. It’s no wonder that Lazarus was our #7 book of 2013.

Sex Criminals #5 (Image): #4 was a bit of a rebound from a not-so-good #3, which was our Biggest Dis(appointment) of November 2013. I’m going to go one more round and see what happens. Let’s call this my having faith in Fraction. Sure, he’s a mad god; he’s an effing oversexed overlord! But when he’s good, he’s damn good. If Fraction’s big three books were a menage a trois–ain’t they, though?–Sex Criminals would be on the bottom–and loving it, no doubt.

Zero #6 (image): With an arc in the books, er, trades, Zero—our #8 book of 2013–gets back to business with Vanesa Del Rey (artist on BOOM!’s quick Hit) bringing Ales Kot’s vision to life. OK, not going to lie: still not too sure how I feel about how #5 ended. I mean, aliens? Really? Going to have to trust my man Kot on this one.

Zero #6

All-New Ghost Rider #1 (Marvel): My only real exposure to Tradd Moore has been Zero #2, which is my favorite issue of the series thus far. Honesty: I don’t give a boo about Ghost Rider; I’m grabbing this to get a little Moore. We’ll see if the little’ll turn into a lot soon enough.

All-New Ghost Rider #1

Avengers World #4 (Marvel): The series has been mostly blah. Started off well enough, but it seems to have fallen into its “bigger” trap, leaving me asking, “What in the world?” Consider how much bigger my bag promises to be this week, this one might find itself displaced.

Daredevil #1 (Marvel): Speaking of being displaced: time to see what Waid and Samnee have in store for comidom’s newest San Franciscan.

Ms. Marvel #2 (Marvel): I was very surprised by how much I enjoyed #1. Reminded me of my initial experience with Miles Morales and how well Brian Michael Bendis handled–and sold–the character in the face of controversy. In this case, I’m hoping that Wilson and Alphona can keep Kamala out of the editorial web that ultimately ensnared Miles.

Ms. Marvel #2

Uncanny X-Men #19 (Marvel): Don’t judge me.

Winter Soldier: The Bitter March #2 (Marvel): Probably not. I didn’t really care for the first one. And after Remender’s Deadly Class #2, I’ve pretty well given up hope that he can deliver something that interests me.

X-Men #12 (Marvel): OK. Now you may judge me. You know, the series started off on such a nostalgic note, and I bought right into it. Felt like the X-book I had been waiting for since coming back to comics. Then came the momentum busting Battle of the Atom. Since then, the damn thing’s been a bit of a mess. I’ll ride out this storyline and decide from there.

Curse #3 (BOOM!): My curse: being unable to quit on a mini if I’m at least two issues in–even if I really don’t care very much about it. That pretty well describes this series for me.

Harbinger #0.2014 (Valiant): Everything you’ve wanted to know about the Bleeding Monk but were afraid to ask.

Harbinger #0.2014

Letter 44 #5 (Oni Press): Still loving President Blades, and right now that’s all that matters to me.

Shadowman #16 (Valiant): A monthly mystery: I don’t care a lick about any of the characters and I’m often vexed by all the voodoo; but I still like it. A major selling point: Roberto De La Torre’s art. It really suits Peter Milligan’s turn on the book.

The Sixth Gun #39 (Oni Press): I’m almost caught up! I’ve got three more issues to rock out. Know what? There’s no reason why I shouldn’t read through them tonight. There you go: I’m going to read them tonight; and I will read this one first. How’s that? Oh, and, umm, just in case you didn’t know already: it’s good. Really good. As I’ve mentioned in recent posts: the team of Bunn and Hurtt will go down as one of the greats of the modern era–maybe even of all time–because of the terrific work they’ve done on The Sixth Gun.

The Sixth Gun #39

X-O Manowar #23 (Valiant): Has been a solid read from the get-go. Aric’s another one of my favorite characters, and Venditti’s shown a great command of his character in and out of the armor.

Avery’s Pick of the Week

Scribblenauts Unmasked: Crisis of Imagination #3 (DC): My daughter has enjoyed the first two issues well enough. By “enjoyed” I mean “not torn the covers off yet.”

Welcome to the 46th Annual I&N’sTop Ten Comics of the Year (aka “The Innies”)! Why it seems like just yesterday that a struggling little mag named “The Amazing Spider-Man” edged out “The Adventures of Jerry Lewis” for the top spot on our hallowed list, signaling the spectacular rise of one and the slow descent into obscurity of the other.

Each title below is testament to the fact that, even as conventional wisdom holds that print is dying, comics are in the midst of some kind of Renaissance. The persistent stereotype that this vibrant, global medium is followed by sad, middle-aged men who like to see men in tights beat each other up simply doesn’t hold water anymore, nor has it for quite some time. The fact is, the problem is no longer a lack of diversity in incredible material for any and all possible demographics; it’s that there’s too much of it to keep track of! No less than seven publishers are represented in our Top Ten, each producing catalogues of more great work than we could ever hope to encompass in our tiny alloted piece of the internet. (You’ll note we even had to expand our “Honorable Mentions” section to ten books apiece – and we could’ve used ten more!) Simply put: everyone should be reading comics.

As always, we here at I&N welcome debate – hell, that’s the whole point. Just be aware that results below have already been encrypted onto floppy discs and blasted into space for the benefit of our future alien overlords. (DM)

The List!

10. Archer & Armstrong (Valiant): When Valiant, earlier this year, began hyping up their new title Quantum and Woody as their foray into buddy-action slapstick comedy, I wanted to yell “Wait! They’ve already GOT one of those!” But Archer & Armstrong is much more than that. Fred Van Lente and Co. have taken the best of Lethal Weapon, The X-Files, ancient Sumerian mythology, Dan Brown-type conspiracy novels, Dr. Strangelove, and god knows what else, and concocted a world-spanning epic that despite its breakneck pace and impeccable comic timing, manages an intellectual underpinning that questions the very nature and origins of faith. Even at its most gleefully satirical, however, the sheer exuberance of the writing embraces an expansive view of humanity, in all its wonders and frailties. Fun in a bottle, folks. (DM)

Archer & Armstrong

9. Fury: My War Gone By (Marvel): Garth Ennis proves he’s one of the most incisive writers around (not just in comics) on the subject of war. His deconstruction of the Marvel soldier/spy icon (lately supercool due to Samuel Jackson’s sleek big screen portrayal) is the least of this title’s attributes (which is on our Top Ten for the second year running). Ennis’ story (rendered with appropriate, unblinking grit by Goran Parlov) also serves as an insider’s account through the anguished litany of armed conflict of the second half of the 20th century. Most devastatingly, it portrays the effects of war, not on the nameless many whose lives are needlessly cut short, but on the wretched perpetrators who survive. Merciless and shattering. (DM)

Fury: My War Gone By

8. Zero (Image): Ales Kot, the enigmatic engineer behind the challenging Change (Image), a mostly on-time bullet train of thought fueled by a combustible blend of poetry and pictures,has heroically hit the brakes on the overplayed and over-parodied secret agent genre, expertly taking it from 007 to Zero in no time flat. He’s applied the same amount of poetic pressure here, but to a more successful–and coherent–end storytelling-wise: the danger is palpable, the emotion undeniable–thanks, in part, to the rather complex collaborative effort that has called for four different artists on the first four issues of the series–a move that has transcended gimmick and, instead, has proven invaluable, if only because the first four artists have been Michael Walsh (Comeback), Tradd Moore (The Strange Talent of Luther Strode), Mateus Santolouco (Dial H, TMNT), and Morgan Jeske (Change). My experience thus far: #1 hooked me with its perfect timing and left me lying in the gutter; #2 knocked me upside-down; #3 disarmed me; and #4 made me love it–made me punch-drunk love it, damn it! What makes the book even more exciting? It defies expectations. I expect that it’ll continue defying expectations as we move into 2014. And, in that, I expect Zero to be just as good as it’s been–if not infinitely better because we’re getting the best of Kot, who’s clearly giving us everything he’s got. (SC)

Zero

7. Lazarus (Image): Greg Rucka’s vision of a near-future oligarchic dystopia gets under your skin because, in the tradition of Huxley and Orwell, it seems an all-too-plausible extrapolation of our current reality. The story is made even more unsettlingly concrete by Michael Lark’s stark, photorealistic visuals. Contrast the plight of the teeming masses with the power-hungry family dynamic of the ultra-privileged few, and you have a potent, volatile mix. A comic for our times. (DM)

Lazarus

6. Wild Blue Yonder (IDW): Sure, it’s only three issues in, but what a three-issue ride it’s been! We’ve celebrated this action-packed series from its radar-arousing takeoff, with each high-speed pass earning enviable I&N accolades along the way. (Check out the love here, here, and here.) Top Gunners Mike Raicht, Zach Howard, Nelson Daniel, and Austin Harrison have come together in classic diamond formation to deliver one superior salvo after another, each on its own–and as a whole–a blockbuster that would humble Hollywood’s own best of 2013. (SC)

Wild Blue Yonder

5. Rachel Rising (Abstract Studio): Terry Moore presents a truly American horror story: witches, serial killers, and a resurrected figure of biblical origins seeking vengeance for the sins of our nation’s past. Oh yeah, and the Devil. Moore draws you in with the quiet beauty of his artwork; his snow-covered renditions of the sleepy town of Manson enveloping you like a down blanket in front of a fireplace, before the sharp spasms of bloodletting shock you right back into his nightmare. However terrible the events depicted though, Moore seems to suggest they pale against the cruelties of history. Speaking of cruelties, let’s hope a purported television adaptation staves off recent talk of this book’s imminent demise. Because the real horror story would be a world without Rachel Rising. (DM)

Rachel Rising

4. Saga (Image): Saga is a lot of things: a superlative satire, a side-splitting sci-fi romp, a heart-wrenching romance, a critique of fiction, a controversy magnet; but most of all, it’s extraordinarily consistent; and it’s that consistency that fosters a critical expectation: to expect the unexpected. On a monthly basis, Brian K. Vaughan and Fiona Staples serve up sublime slices of a greater story–slices that showcase razor sharp dialogue, that pitch perfect pathos, that sell sure shocks; they wisely fool with the elements of fiction and, like confident alchemists, have come up with issue after issue of 22-page gold–and we’re all the richer for it. (SC)

Saga

3. Six-Gun Gorilla (BOOM!): In the biggest surprise of the year, Si Spurrier conducts a multi-layered masterclass in metaficiton and at the same time delivers a eulogy on the dying art of escapism. From the existential exposition of this weird, weird western to its necessarily hopeful final act, Spurrier’s imaginative muse–the Six-Gun Gorilla, himself–becomes Blue’s, and then naturally becomes ours as we consent to the writer’s every insistence; as we gladly lose ourselves in this genre-bending–and never-ending–battle between reality and fiction, good and evil, and fate and freewill, which is brought to life by rising star Jeff Stokely, whose artwork crucially complements the conflicts at the core of the story.At the same time a celebration of a culture’s vital literary legacy and a criticism of the current collective unconscious, Six-Gun Gorilla has earned its spot in the Western Canon of Comics–and our Top Ten–with a simple but oft-neglected gesture: by making and keeping a primal promise. (SC)

Six-Gun Gorilla

2. Mind MGMT (Dark Horse): Matt Kindt’s magical mystery tour de force Mind MGMT—our #3 book of 2012–continues to astound, especially as its crafty creator meticulously molds the medium to suit his carefully constructed conspiratorial agenda. As the story of the eponymous enigmatic entity has evolved, so too has Kindt’s strategy for telling it: his precise, patient prose; his layouts, enlivened by some otherworldly calculus; and his innovative brushstrokes of genius merge miraculously and challenge us to think and to feel, to be active participants in the world in which we’ve been immersed: to put beautifully painted pieces together in order to experience–along with the impressive cast of characters–confusion and loss, the conflation of time, and a higher power drawing us somewhere unprecedented in breadth and scope–drawing us in to the mind of the medium’s finest manager. (SC)

Mind MGMT

1. Mister X (Dark Horse): There are many approaches to creating great comics. One of them is largely collaborative, in which the creative duties are are separated and clearly defined (writer, artist, colorist, letterer, etc). Through an amalgam of traditional, action-based American comics and the more leisurely paced, lushly visual influence of manga, this approach has evolved over the last twenty years or so into what could be called a “cinematic” style; a treatment of the comic book form that seems based in the ethos of filmmaking (Lazarus, above, is an excellent example of this). Then there is another approach (let us call it the “auteur’s” approach) in which the cartoonist (let us rescue this title from the cultural dung-heap) assumes all of the above creative responsibilities to produce narratives that are singular and personal in a way that no other visual medium, not even movies, can replicate. Since they control all aspects of the work – not just writing and drawing, but page design, panel lay-out, font style and placement and all sorts of graphic elements; in short the whole package – they can, at their best, perfectly marry content and form in a manner that is unique to the comics medium. It is an approach with a history that extends at least back to Will Eisner and The Spirit. Perhaps because it takes such a concerted effort by a single individual, this type of formal, experimental approach is most often seen in the realm of the “graphic novel”. Rarely is it employed in our beloved, stapled floppies (though glimmers of hope have begun to appear on the comic racks: see Matt Kindt, above and below). And then there is Mister X. Created by Dean Motter in the early 1980’s, (when “graphic novels” barely existed as an idea) the title has long been a touchstone among independent-minded cartoonists (early contributors include the Hernandez Bros and Seth). In its latest iterations, Hard Candy and Eviction, Motter continues to seamlessly wed both approaches: there is the clear stylistic influence of German Expressionism and film noir for which the comic is known, but there are also the aforementioned design choices that reflect the themes of the narrative itself. The story involves the mysterious architect of a city in which the very buildings (in all their art deco glory) seem to respond to, and adversely influence, the psyches of its very inhabitants. This theme, played out in yarns that are at once hard-boiled, surreal and whimsical, acts as a fitting metaphor for the experience of the reader, as they interact with the “architecture” of Motter’s intricate design. Further, Motter includes delightful homages to the likes of Harold Gray (“Little Urchin Andy”), Winsor McCay (“Dream of the Robot Friend”) and the aforementioned Eisner (see cover below) which pay tribute to the comics history of which Mister X is a part, while, again, also making sense within the story itself. The overall effect is immersive and beguiling. Some comics tell great stories. Some comics celebrate their history. Some comics continue to push at the boundaries of the medium. And then there is Mister X. Book Of the Year. (DM)

With #17, Kindt reaches new heights, goes to greater lengths–particularly in page-busting panels of crisply-crafted and concurrent continuous narratives–to exploit the power of the medium. As promised by the clever cover–one awash in paranoia and paronomasia–the story moves at a breakneck pace: from a locked and loaded unhappy Home Maker to a veritable orgy of violent rivers running toward a simultaneous orgasm of double-page splashes–there goes the neighborhood, indeed!–to a crack shot Meru, who, with a twist of Lyme, is ready to take the reins and restore reason to the world one agent at a time. The whole damn thing’s a miracle, really. Hell, at this point, I wouldn’t be surprised if Kindt could turn his watercolors to wine; his work is that divine. (SC)

Mind MGMT #17

Publisher of the Year: Most comics-related outfits have finally caught onto Image Comics‘ trend-setting ways and already bestowed this honor upon them (no doubt, in no small part, due to our ahead-of-the-curve naming them Publisher of the Year in 2012 😉 And with stellar debuts like Lazarus and Zero (not to mention books like Manifest Destiny and Rat Queens) the accolades are hard to dispute. But let us do just that (contrary bastards that we are). Because 2013 was the year that a bevy of other publishers took a page from Image’s playbook and produced work, much of it creator-owned, that was just as innovative, idiosyncratic, and invigorating as Image’s output. BOOM!, IDW, Oni, Dyanmite – all produced titles of creativity, breadth and distinction. But there was one publisher that rose unexpectedly, like its namesake, above the rest: Dark Horse. While never taking their eye off their bread-and-butter licensed properties (like Star Wars and Terminator) Dark Horse branched out into new territory with exciting minis from largely unknown creators (Buzzkill), original graphic novels (Bad Houses), and printed versions of high quality digital comics (Bandette, Sabretooth Swordsman). And let’s face it, Dark Horse has been doing the creator-owned, independent thing for over twenty years, as evidenced by the revival of the premiere comics anthology, Dark Horse Presents. So while Image is the current industry darling (and deservedly so), we can’t ignore the evidence of our comic-lovin’ eyes: the best overall books of 2013 (including our Top Two titles) were published by Dark Horse Comics. (DM)

Extreme Makeover Edition! This month’s list features five new titles. That’s right: not one of the books from last month’s list is making a repeat appearance. For those scoring at home, that’s the first time that’s happened. Two ways to look at this: last month’s titles par excellence took the inevitable step back (alas, this is partially true – I’m looking at you, Saga!) Or, you may arrive at the conclusion that we have after making these lists every month: there’s a ton of great new comics being produced right now. Really, just the 5 below titles alone represent a cross-section of material that either you, or at the very least someone you know, would get a tremendous kick out of.

5. The Sandman: Overture #1 (DC/Vertigo): This one comes as no surprise. Neil Gaiman, one of the most celebrated writers of our time, makes the long-awaited return to his signature creation, The Sandman. What is surprising is how easily Gaiman re-envelops you in his world. That would be the world of Dream, the name of both the title character and the realm he is lord of; the Endless, his immortal brothers and sisters, each representing a facet of existence that starts with the letter “D” (like Gaiman’s winning goth-punk-cute take on Death); and the host of mythological beings, endearing and terrifying, that were introduced during Sandman’s original, legendary run. This could easily have been a greatest hits tour; give some page space to old fan-favorite characters, indulge your readership’s sense of nostalgia, and call it a day. Gaiman does indeed deliver on both these counts. But what quickly becomes evident is that what is missed most is not the characters, nor even their fantastical world; it is Gaiman’s voice. Alternately warm and wise, mysterious and remote, it has more magic in it than all of the wings and wands and arcane trappings that pass for so much of fantasy these days. And I haven’t even mentioned J.H. Williams art yet. Exquisite draftsmanship, a painterly palette that ranges from monochromatic to kaleidoscopic depending on the scene, eye-popping design that includes double and quadruple-page spreads (you’ll have to see for yourself); suffice it to say that, other than his longtime partnership with Dave McKean, this may be Gaiman’s most fortuitous artistic pairing yet. And that is saying something. A most welcome return. (DM)

The Sandman: Overture #1

4. Wild Blue Yonder #3 (IDW): After a brief hiatus, Wild Blue Yonder soars back onto the scene without having missed a beat. That’s right: it’s another action-packed issue from the terrific team of Mike Raicht, Zach Howard, Nelson Daniel, and Austin Harrison, who are well on their way toward cementing this series as one of the year’s best. Every note is played perfectly, as one might expect after two smartly developed and beautifully rendered issues. Chapter Three takes off with a testosterone-fueled test–one that leaves Tug, the clever new gun, with a sore jaw, a result of the unimpressed Scram’s heavy-handed assessment–and lands with a low-fuel rescue and a highly-anticipated kiss. (Looks like Tug’s jaw was all right, after all.) The care taken to craft such a superb story arc is reflected–more, it’s amplified–by Howard’s art and Daniel’s colors, which together capture both the chaotic and the tender moments with remarkable ease–with no better example of the delicate balance struck issue-wide than the absolutely stunning double-page spread that rests at the heart of this fabulously fun book. Despite that romantic scene and the kiss that closes the chapter, we’re still left with the knowledge that Tug’s loyalties lie elsewhere–with the Judge. Hey: he may be coming around to the cause; or maybe he’s simply playing Cola for the free-spirited fool that she is. Who’s going to win this war of Tug? Please, please, please don’t make me have to wait another three months to find out! (SC)

Wild Blue Yonder #3

3. Mind MGMT #16 (Dark Horse): At sixteen-issues old, Matt Kindt’s magnum opus is clearly the most mature book on our list, but don’t let its age fool you: it’s still contagiously kinetic and impossibly unpredictable–especially here in this expectation-erasing one-shot, which showcases Kindt’s incomparable ability to marry his watercolors and his words. Once again, he “escape[s] into books” and plays both sides of the unique relationship between reader and writer, tapping into the fascination, obsession, and madness of this novel form of unrequited love. Kindt takes a risk as he builds this complex character study on a character who’s important to the overarching storyline, sure, but in whom we’ve yet to make a significant investment. The risk pays off: he fills up the blank spaces in the Eraser: he sets up and sells Julianne’s psychosis, her rapid divorce from reality, by literally drawing what’s going on in her mind and, as a result, figuratively drawing us into it. We follow her, observe her, as she follows and observes; and her anxiety, which builds with each panel, parallels ours–not surprisingly thanks to Kindt’s attention to detail as he creates a memory game of sorts throughout the issue: one in which he challenges us to see patterns, subtle parallels between one panel, one page and another, even as Julianne’s own memory seemingly fails her–particularly in terms of her husband, the author of her obsession, Philip K. Verve. Whether it’s a crescendo of phantom “taps,” a persistent mask of pipe smoke, or a face left unfinished, Kindt cleverly details her descent all the way toward the penultimate page of the story proper: a stunning splash, which, ironically, after an ascent–of stairs, anyway–brings the fictitious relationship to its inevitable, bloody end. From the beginning, Mind MGMT has been a comic book experience unlike any other. This issue may very well be the best of the bunch: it engages us as fully as the medium can; and, as Kindt writes through his art (see below), he manages to get us to think not only while we’re lost in the story, but long after we’ve finished reading it, as well. (SC)

Mind MGMT #16 p. 15

2. Afterlife with Archie #1 (Archie): This was, perhaps, inevitable. We live in a mash-up world after all. Bluegrass techno music. Superheroes on Broadway. Bacon and everything. Add the seemingly undying craze for zombies, and it’s actually surprising it took this long. Now, at their worst, these types of amalgamations are self-indulgent exercises in pointlessness. And yet, there’s something about this... Just reading the title gives rise to an involuntary smile. The prospect of throwing those beloved, unaging teen icons and their whitewashed Norman Rockwell existence into a flesh-rending, post-apocalyptic fervor holds the excitement of both a dare and a promise. Indeed the difficulty may be in staying true to the Archie half of the equation. For this to work, there has to be a genuine understanding of these characters and their world; otherwise it could easily descend to a Mad magazine parody. Luckily, writer Roberto Aguirre-Sacasa seems up to the task. (His work salvaging the aforementioned superhero musical may have provided good training ground in the mash-up dept.) These characters act the way they’re supposed to; the corny jokes, the anachronistic cat-fighting of Betty and Veronica. But then there is the palpable mood of creeping horror, thanks largely to the stunning art of modern pulp-master Francesco Francavilla (which is, by itself, worth the price of admission – honestly I would’ve bought a regular issue of Archie Digest if Francavilla was drawing it. Note to self: Digest Archie would’ve been a great alternative title for this book.) Aguirre-Sarcasa promises much darker times ahead. The thrill of this book will be seeing how far he can go while still having it be recognizable as an Archie comic. It’s quite the task he’s set for himself. And if he goes too far? Well, that could be fun too… (DM)

Afterlife with Archie #1

1. Zero #2 (Image): Issue one was pretty good: Ales Kot presented a espionage/black-ops story involving a superhuman arms race. Not the most original concept, but placing it in the context of the ongoing Arab-Israeli conflict gave it a certain edge, aptly rendered by Michael Walsh’s choppy, early-Mazzucchelli realism. Issue two is a different beast entirely. The mysterious operative, Zero, is still the main character. We are again witness to a political assassination. And yet the tone couldn’t be more different. Whereas the first issue was all brutality and military jargon, the second issue balances the awful goings-on with a poignant tale of innocence lost. Or more accurately, torn away. In this issue, we flashback to Zero’s childhood. The sweet, unaffected cadence of his young view of the world is set side-by-side with the harsh nihilism of his education in sanctioned murder. This duality heightens the mood of each, a quality that extends to the art, which also couldn’t be more different from the first issue. Tradd Moore’s work exudes the literally wide-eyed, childlike perspective, without skimping out on any of the violence, by employing linework that has more of a late-Mazzucchelli grace; a clean, exuberant style suggestive of animation, or dare I suggest, even a touch of Al Hirschfeld (I’ve never before encountered an image of a brain-splattered assassination in which I wanted to count the ‘Nina’s‘.) In presenting two initial issues that attack his basic premise from wildly different angles (and artists), Kot has proven himself quite the chameleon, and hopefully set up that rare book in which, month to month, you truly don’t know what to expect. Book of the Month. (DM)

Zero #2

The Biggest Dis(appointment): Letter 44 #1 (Oni Press)

Letter 44 #1

Welcome to the dis, Mr. Soule. So you know, the next few lines are going to be rough. A bunch of over-the-toppositivereviews and a TV deal in the works don’t really prepare you for being The Biggest Dis(appointment) of the month–but you’ll get through it. They all do.

Sorry. Seemed fitting.

If I’m being honest, your being here isn’t really your fault. Your book’s actually pretty good. In fact, the first page is “something else,” and the introduction to 44 is expertly done; we know exactly what kind of man he is in four pages flat. Your dialogue is sharp and naturalistic; and Alburquerque’s art does its job. But my perspective changed after the abrupt insinuation of the, umm, extraterrestrial problem. And you knew it would, didn’t you? I mean, you had the President-elect express–perhaps even more accurately–exactly what I was thinking a couple of panels later. Clever, sir!

Now don’t get me wrong: I can suspend disbelief with the best of ’em. Problem is, my disbelief immediately got suspended alongside several former disbeliefs that got strung up as a result of my having endured rockbusters like Armageddon and Deep Impact, and the soulless Independence Day. It’s an inglorious gallows, indeed. So, expectations? Exploded. A big budget’s worth of bust for only a buck!

As the issue wears on–and it does–it wears the White House well; the crew of the Clarke, well, not so much. But, hey, it happens. In this case, it is your fault for having created such a strong character in President Blades. Any time he’s not on the page, however, the story suffers–but not as much as it suffered from its not living up to the previews and reviews that held it up to the heavens.

I think you’d agree: it’s not quite there yet. I mean, at this stage, the core of Letter 44 is nothing more than a mostly familiar concept. But will I give your book another issue? Sure I will. Will your book eventually meet the hyperbolic expectations heaped upon it–if not in #2, sometime soon? Will it play more like an artsy independent film and less like a brain-dead blockbuster? I have no idea. Heck, I’d be happy if it meets the humble expectations I’ve now tied to it. But as it stands, I expected more from this, which is why your initial offering has earned a dis. (SC)